5 comments about Drawing for Older Children & Teens.

1. I had read the first volume and found it and the author a bit too self-referencing. Still, there were some good insights and wading through it was interesting, if only to get inside another art teacher's mind. But I am not finding the same value as I did in the first book, finding it more of the same for the most part. Sorry; I think the material covered could have been done in much fewer words.



2. This is a wonderful book full of very useful ideas for teaching children and adults how to draw. Each step builds on another and my students are doing remarkably well. Would highly recommend this book.



3. This book disappointed me. I thought given the age group of the title it would have more indepth step to step drawings, page by page. Instead it has paragraphs to explain terms/techniques with some examples from students,which were inspiring but needed additional work. This has been give high marks and suggesed as a good teaching tool. Perhaps thats a better use for this book, by someone experienced who can take it as a course outline and bring it to life for students. I prefered, The New Drawing on the Right side of the Brain, Keys to Drawing and Secrets to Drawing Realistic Faces.



4. This is a very good book for teaching art to young adults, a great alternative to "Drawing on the Right Side of the Brain" which is a bit advanced for kids. The personal insights and experiences of the author are definitely a good read.



5. I loved this book, and also enjoyed "Drawing With Children" by Mona Brookes. Great plan for a drawing program, very clear instructions, lots of enjoyable background narrative on Mona's personal experiences, student stories/quotes. LOTS of drawing samples, and very helpful drawing exercise pages to copy for use at home. If you've enjoyed Betty Edwards ("Drawing on the Right Side of the Brain"), chances are you'll like Mona Brookes as well. A great resource for tentative beginners in art!

5 comments about 500 Tiles: An Inspiring Collection of International Work (500 Series).

1. Great book - great price. Gave me lots of ideas for my own projects. I was able to create original works using similar ideas to those others had made.



2. EXCELLENT review of many techniques, styles and approaches to clay tiles. Well presented with very good reproduction. A great addition to any potter or artists library. Expanded technical data would make this edition even better, but I still rate it a "9"...



3. This book is a bounty of styles and artistic ideas for what tiles could and may become, with an open mind and some creative techniques. As a beginning ceramicist, this is exactly the sort of thing I was looking for; as I wanted to break out of the traditional 4x4 square and make something wholly unconventional. I wasn't sure if my ideas would work, but after seeing what others have done I am inspired to make my dreams a reality. Thanks to books like these, I can let my imagination run wild and my only limit will be time and creativity.



4. Among the very best of the Lark Books "500" series. Brilliant color and design, not limited to traditional tiles and encouraging to the artist craftsman.



5. I must agree with the previous reviewers, the work in this volume certainly merits "Inspiring" being in the title.
   
   As the juror states in the book's introduction, so much of the fun of this book is seeing the widely varied approaches the artists have taken with this format: figurative, abstract, painterly, sculptural, small-scale, architectural.
   
   Full disclosure: my work is also included (p 409), and I am honored to have been selected and published next to so many visionary artists.
   
   What a pleasure it has been to explore the works contained here, some by artists I know personally, or by reputation, and still others I am encountering for the first time. Highly recommended!

5 comments about 1001 Paintings You Must See Before You Die.

1. What an amazing compilation of some of the world's most beautiful works of art through the ages! As a museum geek, I've seen many beautiful paintings in my life and have been very fortunate to have traveled in Europe and was exposed to major art museums in countries than my own. This book has "filled in the blanks" if you will, and has opened my eyes to more modern art, as well as the old masters. I am now studying art history and plan on broadening my horizons by visiting many more museums and galleries throughout the world. I bought a copy for my mom and my girlfriend, and they love it too.



2. I am enjoying this book. I wish the paintings were of a larger scale, stil you can see the pictures well enough for recognition. There are many best parts but I enjoy the alpahbetical index that I am using to highlight my more appreciated works. I enjoy the explanation of the artist and style beneath the paintings. Each painting is pictured in this book in color. Great buy!



3. I bought this book based on the reviews here, I thought the book was pretty good.
   
   My main problem was with the size of the images. Someone here said most images are one to a page, or two to a page... and that the smallest images are an inch by an inch.
   
   I'd expected all the images to be a lot bigger. Many of the images, maybe even 25% - 50% weren't much bigger than an inch by an inch. This is a real problem if you are looking at the book as an artist and want to see how the brushstrokes were made a little bit etc. at least on some of them. But the images were too small for this, and no detail views were shown (except a very smalll number at the start of each section).
   
   I found it really hard to look at all the small images and take in the painting properly too. Many were just too small for me.
   
   I'd rather have had less white space and 30% bigger images, this could easily have been done without sacrificing much text or design quality. (The cover art was awful too!)
   
   I also bought '1000 Masterpieces of European Painting: From 1300 to 1850' at the same time and this book was so much better at having larger images and showing details than this book (despite the book being far SMALLER and having far less pages than this one too!). It had a nicer feel too, the arrangement of the images and text was far less uniform than in this book and therefore much more interesting. It did have less white space but was actually far more elegant despite this.
   
   The selection of images seemed very good though (despite the bad graphic design of the book) and it was well-made. It weights an absolute TON but then it would!



4. An enormous, beautifully compiled collection of artwork whose title I couldn't agree with more. Filled with easily digested insights into some of the greatest artwork in history, this almost 1000-page book is great for people only mildly interested in art or for serious art-core types.
   The pictures are lovely and there's just enough text to get you interested in someone new (or old) at every turn.



5. Did I get a bum copy of the book? Or is it a joke that the book contains 1,000 paintings to see instead of 1,001? The Kiss by Francesco Hayez is listed and pictured twice in my copy - but with different dates. The Kiss on pg. 429 is dated 1859. The Kiss on pg. 475 is dated 1881. Also, I've seen quite a few typos and wordos so far, and I'm half-way through. The book is cute, informative, but needs an editor ASAP before the next edition. Or let us in on the "joke" if that's what this is.

5 comments about The Photograph as Contemporary Art (World of Art).

1. Excellent book for anyone interested in photography. Even more beneficial when you begin to get serious about your photographs.



2. I am a photographer. I also live in New York City where I wander through art galleries displaying photographs with which I have a hard time coming to grips. Charlotte Cotton's book seemed to be aimed right at me.
   
   What distinguishes a contemporary art photograph from other beautiful photographs is not always clear, but like Supreme Court Justice Stewart, I know it when I see it. From what the author suggests, it may be that contemporary art photography is less concerned with the form and more with the content, and that viewers are meant to be semiologists decoding what a photograph stands for.
   
   Cotton begins her book with an introduction that includes a taxonomy of contemporary art photography, and to the extent that classifying an object helps us to know and understand it, the introduction alone justifies the book. Surprisingly, rather than look at style or subject matter, she organizes the book based upon the photographers' motivations and working practices. For example one of the classes is pictures of events that have been specifically organized to be photographed while another is pictures that aim to reproduce or refer back to something in the history of photography and other arts.
   
   Each of the classes is allocated a chapter, and allocates a paragraph each to the work several artists, along with a representative photograph. Cotton explains how the photograph fits into the genre and explains something of the meaning of the work. Most of the photographs are just large enough to provide some appreciation of the work and the explanations are as concise as possible.
   
   The book is meant to be a survey and so is more useful for providing a framework for understanding the overall categories than appreciating any individual picture. It should also be noted that the book does not cover a great deal of recent popular photography like the works of Annie Liebovitz or Art Wolfe. I expect that these photographers are seen as working in an older tradition and that they are not "post modern", again, whatever that means.
   
   For the individual who is trying to get his arms around the direction and meaning of much of modern art photography, as well as for people who have dismissed contemporary art photography as unfathomable, this book will provide a good introduction, particularly since Cotton doesn't seem to be tied to the language of deconstruction, but rather speaks without jargon. Yet this is a field of such great variety that even if one read all of the hundreds of books listed by the author for further reading, one would have only scratched the surface.



3. This book offers an understandable discussion of a complex subject. Recommended!



4. I learnt a lot from this book on what is happening out there in the world of photography today, boundaries are being crossed, there actually is a revolutiopn in the arts in general at the moment, which I find out to be much much more exciting than most people think, especially with photography. I happen to be a photographer myself and I strongly suggest this book to people who think they have mastered the subject and thought they had an open mind.....there is still a long way to go and loads of arenas still unexplored unlike what we used to think that it has all been done before but no, this book shows how we are still pretty much at the beginning of our adventure in this subject, we can break down a lot of our old beliefs that were gathering cob webs.



5. This book is a great introduction to understanding the world of contemporary photography. I have appreciated how the chapters are set-up as a look into the main branches of contemporary photography. If you are a photographer, it can help you discover more people who are doing work which relates to your work or inspires you. Because it has information about so many different photographers it cannot cover them all as thoroughly as one might like; however, it acts as a wonderful springboard into further research. I have found it very useful in searching for great works of photography.

5 comments about Where We Stand: Class Matters.

1. How to sum up bell hooks in under 5 words: not a good writer. She constantly writes that class is the biggest issue of all, which she then contradicts by constantly mentioning the importance of race and money. Worst of all, she repeats the same things over and over to no affect besides being annoying. With some editing, and a less muddled, contradictory thesis/outline, this could have been a good book. But with all of the generalizations and assumptions - on top of everything else I just mentioned - "Where We Stand" is a failure. I'm actually very surprised with all of the positive reviews this book has been given.
   
   hooks, if she had things her way, would make the USA a communist country. Yes there are 38 million people living in poverty, but the population has doubled to 6 billion since 1960 (when the world population was only 3 billion) - much thanks to families, like hooks', who have too many kids (7 in hooks' case). Earth has finite land and resources - when the population goes up so much, it's no wonder there are so many homeless people. Not enough room for everyone, unless you want to completely obliterate the environment or build millions of 40- 50- or 60-story apartment complexes everywhere. On top of that, millions and MILLIONS - 38 million according to hooks - of jobs need to be created.
   
   If hooks truly believes that the poor aren't lazy, then why is it that illegal immigrants find it so easy to find jobs all over the county?(It could be about race, but I don't know many Americans who really like illegal immigrants, at least not as much/more than any other minorities.) If a low-wage job is available, I would take it (if I were poor) if it meant keeping me off the streets. Yet our country - ahem, liberals - are supporting illegal immigrants. I'm not Xenophobic, I'm not anti-Mexican, anti-immigration, or racist. I wish everyone the best. But when people in our own country can't even find a place to live, why is it that we're trying to protect the rights of illegals?
   
   I could go on and on about all of the things hooks refuses to acknowledge. She's blaming "us" for looking the other way, while she's doing the exact same thing on many issues. Does she really expect everyone to be as narrow-minded as she is? There are too many problems in our country alone, let alone the entire world, making it difficult to instantly solve this problem. Think about it: billions of people on an overpopulated planet.... not going to get results very quick, especially not with the "make everyone feel guilty" approach that hooks uses in her book. I do believe that class is an issue, but it's not the only one - unfortunately, hooks doesn't really address that.



2. I finally decided to come to terms with how class affects the decisions I make and that people make on my behalf. bell hooks is a rigorous thinker who questions assumptions,especially her own. I liked the blend of experience and academic evidence she uses in the essays. Thinking about class raises a lot of emotion, especially shame, and having an intellectual basis for processing it helps. An excellent place to start.



3. I'm always interested in what bell hooks has to say, but this is one of her best. We hear more these days about the increasing class divide in America, and bell speaks clearly to the cultural issues and access to political power of the working classes, especially when those poorer people are of ethnic groups and when they are women.



4. Where We Stand: Class Matters by bell hooks
   
   
   All books written by bell hooks are powerful, direct, and very brave. Exactly when I was hoping bell would write a book about class, I discovered this one. Her writings about love lead to exploration of capitalism and its social structure more in depth, to strengthen points about the ways class loyalties and antagonisms prevent love ethic from becoming embraced by the society as a whole.
   
   What I especially appreciate in Where We Stand are the two quite extraordinary qualities: a) bell showed us that we can talk and write about class without using "post-modern" or difficult to comprehend terminology, and b) she is not afraid to call to action, to change this depressing and unjust, cruel and senseless system into "a world where we can all have enough to live fully and well."
   
   She started the book with self-critique, almost apologizing for not having enough theoretical knowledge to talk about class issues. However, bell is able to discuss very different aspects of class, such as class ideology (or the dominant social ideology being the ideology of the ruling class), class consciousness of the working class and intellectuals, intersections of class, race and gender, crossing class boundaries, and a vision of a classless society--society--without class hierarchies or antagonistic classes.
   
   I read somewhere that some book reviews called this book a "novel". Where We Stand is not a novel, but I prefer to see this as compliment. bell masterfully intertwined her personal experiences and her family stories into the general discussion about class. Her feminist methodology brings much needed approach and analysis of one indivisible social system that is at the same time patriarchal, capitalist/imperialist, and white supremacist on a global scale.
   
   bell hooks is always brave and principled. Her integrity is intact as she writes about the most important issues of our time. In addition, we can witness that she lives according to her values. She is compassionate and openly declares her solidarity with the working class and all of the people that Marx called proletariat. bell chose to live on a smaller income, without security that institutions provide, and to live simply.
   Not only are the topics that bell writes about revolutionary, but she herself lives as an intellectual capable of leading a revolutionary movement.
   
   I expect some critics to say that all aspects of class are not explored in this book, nor are those discussed explored in depth. Some will be tempted to say that bell is using Marx's concepts and creating relatively new terminology, as would many say that Anthony Giddens (Capitalism and Modern Social Theory; Class, Power and Conflict) is very much influenced by Marx. I understand that this book is only her first step, an introduction to a number of explorations of class issues in the contemporary American society, as well as one of her first calls for unity and strong advocacy for abolition of class and all other hierarchies.
   
   Considering much of hooks' social theory, I see most parallels with Erich Fromm's work. Fromm wrote about "productive love" and "productive work", but he was also a very sharp critic of capitalism, exploitation, and alienation from our basic human needs, arguing for "productive humanistic communitarian socialism". Very much influenced by Marx, Fromm's theory of class also focuses on raising individual, group, and social conciseness in order to change the society into a future form that would allow us "to be" instead of "to have" and fulfill our basic human needs.
   
   In terms of style, bell's way of writing resembles Joanna Kadi's Thinking Class who reaffirmed that working class members of our society are among best thinkers and most important agents of social change.



5. I started reading this book shortly before Hurricane Katrina struck the Gulf Coast and news clips began pouring in from New Orleans. More clearly than ever, I understood the need for books like Where We Stand to encourage us to think about issues of class in America and then take action in our own lives.
   
   I read bell hooks because she challenges the notions I have from my white supremacist, patriarchal, capitalist upbringing. Where We Stand continues in this tradition. While reflecting upon the events of her own life and her own actions, hooks is able to examine our culture while inviting us increase awareness of how issues of class impact our own lives. For example, while critically examining the influence of materialism in our society, hooks offers her own personal experience with owning a BMW and how her attitude toward the vehicle subtly affected her relationships with other people.
   
   Anyone willing to examine how class, race, gender, and consumerism all collide will want to read this book.

5 comments about The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax.

1. The book touches the basics of encaustics and it's a great reference for artists interested in learning more about the medium.



2. This book was unusual as an artbook. It takes me beyond the "hobby" status many art book seems to have. Proffessional and inspiring!



3. If you want information as an artist intending to try encaustic painting
   then this is a good book--it covers everything to get started painting with
   encaustic. Also some information on the ancient Fayum encaustic portraits,
   Jasper Johns use of encaustic (an interview with him) and examples of the encaustic
   work of certain other contemporary artists using encaustic techniques and some
   using other wax techniques not strictly encasutic



4. I am new this this medium. When I ordered this book I could not put it down. I read it in one night. It is packed with a lot of information. I keep refering back it.



5. I found this to be a clear and well presented book overall, enough so I found I didn't want to start this technique until I did some major re-arrangement of my studio space. Given that I haven't tried working through the tutorials, so really can't comment about them.
   
   Some seem annoyed at the art and artists presented - get over it. Art is about process, not product, learn about and experience what others have done then do your own thing. If you live somewhere with good art museums then seek out work by others that is in the genre that suits your tastes.
   
   I'll keep this book as reference when I do start my experiments with wax - so far it's the best I've seen in print.

3 comments about Art History, Volume I (w/CD-ROM).

1. I actually saved $100 by buying this used version... theres no writing in it... the book is is great condition and i payed $4.25 .. (i was expecting a book with half the pages missing) The best deal i've got on amazon!



2. Finally, an art book which includes not just female artists but also art from more regions than Europe and Great Britain. This book is consice and factual in its assessment of art history. Considering that the basic appreciation of art is subjective and therefore opinion based, Stokstad keeps her personal views to herself and merely reflects the views of each period or region which affected art (and therefore art history) and why certain types were popular.
   I would recomment this as a good expansive look at art history for students or art enthusiasts!



3. I had to have this book for my Art History I class, and the second for part II of the class. This was not a book that encouraged me to look further into art history. From what I see the author put many of her own opinions into this book. That is not what makes the history. . .history is history, not opinion based ideas and theories. I would not reccomend this book for teachers that would like to inspire their students to pursue art history further. . . good variety of art work, just not good enough to appreciate it.

5 comments about Theories of Modern Art A Source Book by Artists and Critics (California Studies in the History of Art).

1. The beauty of this book is that so many letters, reviews, interviews etc. about/by so many artists are conveniently gathered in one place. On the whole, there isn't anything in here that you can't find elsewhere, such as in biographies of the individual artists. For example the letters contained in the opening section on "Post-Impressionism" from both Cezanne and Van Gogh are included in just about every biography on them.
   
   The over-riding reason for buying this book is that so many are collected together. So, even for an artist that you might not like enough to go out and buy their biography, atleast you get an insight in to their thoughts/motives etc. In some cases this may spark your interest in a previously less favoured artist and appreciate their works from a new perspective.
   
   Chipp covers all the main "isms" of modern art from Post-Impressionism (Cezanne) onwards. Each movement opens with a treatise detailing the main theories/artists/concepts/techniques that made it unique. This is followed by a comprehensive selection of articles/letters/interviews etc. concerning the main players i.e. the section of Expressionism includes writings from Nolde, Kandinsky, Kokoschka, Kirchner, Marc, Klee and Beckmann. One of my favourite pieces is by Stuart Davis. He's responding to a critic's recent review..."in your review you speak of your enthusiasm for my work and call me a "swell American painter". This attitude on your part I heartily approve, but you further state that my style is French and that if Picasso had never lived I would have had to think out a style of my own. Now is that nice Mr. McBride?" and off Davis goes in his defence. Superb.
   
   Rather than reading about these various "isms" via the well meaning but often biased views of a expert art historian, here you get the views from the artists themselves.
   
   For any art historians dealing with the modern art period this book has to be essential. And for general appreciators of art, as well as artists themselves, this book contains a wealth of information, and pays dividends to both intense study or just random browsing.
   
   Since it's first publication in 1968 this book has formed the foundation of any respectable art library. I just checked the bibliography of more recent books on art history - this book is referenced extensively. In my opinion, if anyone is looking for an interesting and enjoyable introduction to the world of "Modern Art" they could do a lot worse than start here. And given the way that any one "ism" owes it's existence to the "isms" that came before it*, this almost reads like a novel.
   
   *Regardless of Dali's utterances about Surrealism being a unique movement, unfounded by anything that came before, just go and have a look at the works of Hieronymous Bosch to see that wasn't the case.
   
   Recommended!



2. I just wanted to respond to the person before me. It sounds like contemporary art is way over your head. Please do not waist our time with long reviews about things you clearly do not understand.



3. Not only educational, but inspiring. I not only learned about each artist and what when on during their time of certain artworks, but I was able to get inside their head. The words of the artist's in their letters were captivating. I was caught up in the reading. I especially enjoyed Matisse and Kandinsky. Kandinsky is very spiritual about his writing and gives a deep explanation of colors. Anyway, it is a great read. It was required for my history course, but I enjoyed it. Not very many in my class could understand what they were reading. I guess you not only need intellect, but sophistication. I liked it!



4. How often had I looked at a painting of Van Gough and wondered what exactly was this great man thinking when he conceived and painted such a picture. Now by reading thru this excellent book, I can claw into the mind of artists themselves.



5. Even if you are not interested in the arts but simply in thought process- I think you will find this book very interesting. You could say this is the history of modern art without pictures (although there are some pictures)- bringing the reader facinating insights into how different types of artists came to their philosophies of art, and of course, the world. Documented through personal letters, manifestos, and articles, the varity of different thoughts and beliefs catapolts just what art can be. To me it shows that art is a never ending universe of ideas- all connecting but all very individual just the same.

5 comments about Paul Revere's Ride.

1. David Hackett Fischer's book provides the history of the people. The events leading to the armed resistance against British forces, the American Riflemen who answered the call to arms, and the aftermath of that fateful day in history are recounted in interesting detail. It is the story of the collective effort of individuals in defense of the principles of free men against a government imposing tyrany upon them.



2. Before David Hackett Fischer wrote his Pulitzer Prize winging book Washington's Crossing he authored this historical masterpiece. Paul Revere's Ride takes readers through the early stages of the revolution at a point when conflict is all but inevitable. The book frames these early moments through Paul Revere's life but is really an overview of the people and the times that afflicted the country in the weeks and months before Lexington and Concord. Fischer breaks down the myth of the lone rider and shows the vast network that Paul Revere and others built to spy on the British and mobilize the people of New England. One of the more surprising aspects of this book for myself was the way in which General Gage approached the American colonists with a firm respect for the rule of law which given American protests at the time provide stark contradiction to many of the complaints.
   
   In addition to covering the vast network the author also gives a blow-by-blow account of the battles at Lexington and Concord doing a masterful job of showing how each side reacted. The implications of the battle are covered well and the strengths of the American colonists not only in battle tactics but experience are well illustrated. Overall this is an excellent summary of the events leading up to Lexington and Concord, recommended for those who want to gain an understanding of how the revolution began.



3. I bought this book because it was required for my son's summer reading in preparation for an AP US History class. I read part of it and found it a bit of a slog; it is definitely a serious history book. Nevertheless, it is well written and detailed enough to give one new insight into the events at the start of the American Revolution. My son says it has too much detail about the specific battles and not enough overview of the historical and political context--but he has not had any trouble finishing it. It is not a small volume, about 300 pages I think. Worth reading if you are interested in the American revolution. Does not focus on Paul Revere as much as the title and first 20 pages would imply.



4. This illuminating history revisits Paul Revere's iconic ride and brings Revere and his times back to life.
   
   Fischer is a super historian and writer who specializes in early American history. In this book, he breathes new life into Paul Revere, the Boston silversmith who rode into the New England countryside in April, 1775 to warn the people about the British march to confiscate American guns and powder. Fischer uses Revere's ride as a takeoff point to explain how the outbreak of revolution at Lexington and Concord was not random individuals fed up with taxes, but a well-organized resistance to a powerful but clueless British military administration that seemed to make the wrong choices at every turn.
   
   A captivating accounts of the ride and the battles, Paul Revere's Ride shows you history in the making. Great maps and photos. I'll keep this book and read it again.
   
   Reviewer: Liz Clare, co-author of the historical novel "To the Ends of the Earth: The Last Journey of Lewis and Clark"



5. Excellent book Extremely well documented. Dispells some common misconceptions about the American Revolutionary War and provides great insight into many individuals who were instramental in the efforts of American Liberty.
   
   A couple misconceptions that are covered:
   
   The image Americans have of Paul Revere being a lone rider yelling "the British are coming!" is a fanciful one. First, there were many players and riders on the night of April 18th and the day of April 19th, 1775, not just Paul Revere. Second, and one of the most important things for Americans today to realize is that the Colonialists were British citizens and saw themselves that way. They had no intentions of starting a revoultion for independence prior to Lexington-Concord and they most certainly did not hear "the British are coming". They heard "the regulars are coming". These redcoats were their own troops, and the colonialists saw them exactly that way.
   
   Most people I know will give you taxation as the primiary catalyst for the American Revoultionary War. This is also a false idea. The primary reason (and the events surrounding April 19th, 1775 prove this out) was the British government's attempt to reduce the colonials' ability to resist them militarily. The British government and armed forces were seizing cannon, gunpowder and shot.
   
   Champions of the 2nd Amendment will exclaim that the Revolutionary War was started becuase of gun control, and that is partly true. The "regulars" did not in general care about the average colonialists arms, at least to begin with. There were arms in just about every household in New England, and they did not think it prudent to attempt house to house search and seizure. They realized it would be much easier to limit the supply of munitions (blackpowder especially), the bulk of which were generally stored at "powderhouses" in various communities. In this manner the British government hoped to limit the ability of the colonialist whigs to mount a sustained resistance.
   
   The successful and unsuccessful attempts to seize powder did not have the affect the goverment hoped. Read the book and find out what happened. It's your history and heritage America.
   
   I want to note that I found this book through participating in a program called The Appleseed Project, an offshoot of the Revolutionary War Veterans Association. I think the skills gained therein, and the historical narratives provided are really needed in America today. Thanks for reading.
   
   [..]

5 comments about Chanel: Collections and Creations.

1. Chanel: Collections and Creations is an utter delight from cover to cover. The book itself is beautifully presented, printed on heavy stock and bound tightly. Unlike some other "coffee table books" I've bought, it feels like it was made to last. This book is a real treat for both the casual and dedicated fashionistas alike. Images are gloriously rendered both in full color and crisp black and white. The full page shot of the iconic camellia brooches and the section dedicated to the Chanel suit were particular highlights. A number of photographs are so detailed and well shot that you almost feel you can reach out and touch the clothing and jewelry pictured. I can highly recommend this excellent resource - even for those with a mere passing interest in the house of Chanel. A very happy addition to my book collection.



2. Ultimate in beauty style and class.
   Everybody loves Coco.
   A great book.
   And it smells wonderful.
   Style, my friends,
   always look for that style!



3. A great book for all CHANEL FANS! I love it. I love the pictures in it. The way the subjects are treated is very interesting and the pictures are great in it too.



4. Of course, Gabrielle, Gaby, Coco...all Paris is here. The couture, the perfumes, the hats, le style. Many colors and many memories. I love this book.



5. The book is even better than what I thought.
   Amazing, worth every penny!